The first "Thor" film, directed by theater titan Kenneth Branagh, gave the story not only some clever fish-out-of-water humor, but a Shakespearean gravitas. The Norseman's second appearance, in "The Avengers," had all the pop-cultural wit Joss Whedon could provide.

But now it's hammer time again with "Thor: The Dark World," directed by Alan Taylor (and with a story and screenplay credited to five other people). And it's OK. But if you've got a big blond hunk flying around and all you can manage is "OK" — well, I guess it's hard to bring your A game when all you've got is the B team.

The film has two notable mistakes, one right at the beginning and the other threaded throughout.

The first problem is one of those exposition-loaded prologues that fantasy and sci-fi films have grown way too fond of lately, extended setting-the-stage sequences that keep the leads off screen, eat up time and tell us things we don't need to know that happened a long time ago.

These set-ups have an obvious appeal to ambitious filmmakers (who think they help create "a mythology") and greedy studios (who see them as a source of prequels and videogames). But they take information that could be conveyed in a line of dialogue and drag it out endlessly.

The second mistake here is a decision to bring technology into this, having Thor and his fellow Asgardians face an ancient army that nonetheless flies around in rocketships — and having both sides lob grenades at each other, shoot off what look like laser rifles and fire anti-aircraft guns.

I'm no mad Marvel purist (and the films have already taken lots of liberties with the comics) but for me the real appeal of good ol' Thor is that he's not waving modern weapons around; he's got his sledge, his buddies have their broadswords, and by Odin's name, they will be avenged!

It's one of the things that makes this superhero stand out from the rest, and while I expect devoted fans can call up some textual backup, it still feels alien to Thor's true appeal. I don't go to "Thor" movies for sci-fi action. I go for magic and mystery.

Which is a little lacking this time around.

We do once again have the charming, good-natured and spectacularly well-muscled Chris Hemsworth as the Norseman, who shows off his pecs appeal in an early, particularly gratuitous bathing scene. And Anthony Hopkins is back as Odin, one of the most difficult dads ever.

And, as always, the most valuable player remains Tom Hiddleston as Loki, the trickster. Thought you'd seen the last of him in "The Avengers"? Foolish mortal. Know you not of the precious metal that can be mined, simply by having him return in film after film?

Honestly, Hiddleston has the best part in the movie and although some of his tricks are really kind of cheats (at least as far as the audience is concerned) he's a sly and consistent delight. (And you will love his quick "Avengers" joke.)

But Taylor doesn't do anything particularly interesting with the staging or the photography, and the CGI is so obvious and ever-present that the film begins to take on, not the look of fantasy, but cheap unreality. And the story — which brings on one more madman's plan to destroy the universe, and one more city-devastating finale — feels like half-a-dozen other recent superhero movies.

Which, of course, is the whole problem. Thor may not be many people's favorite superhero. Iron Man is wittier, Superman is nobler, Spider-man is angstier, Batman is darker. But Thor was at least — always — different. And this movie makes him just more of the same.